A DKIII: The Master Race #9 Review – The Dark Knight Reboots

TITLE: Dark Knight III: The Master Race #9
AUTHORS: Brian Azzarello, Frank Miller
PENCILLERS: Andy Kubert, Miller
PUBLISHER: DC Comics
PRICE: $5.99
RELEASED: June 7, 2017

***WARNING: Spoilers lay ahead.***

By Rob Siebert
Editor, Fanboy Wonder

Well, there it is. May as well have called this one The Dark Knight Reboots. For all intents and purposes, that’s what it was. There’s no official word on a DKIV story going forward. But given what we saw here, it seems pretty damn likely. Between this and the incorporation of Watchmen into the canonical DC Universe, they just can’t help but play the hits. For better or worse…

This issue sees Batman, Superman, Batgirl (Carrie Kelley), Lara the Supergirl, and the other heroes have their final confrontation with Quar and the Kryptonian invaders. Afterward, the Dark Knight Universe has a new status quo. Especially now that Bruce Wayne has been revitalized via the Lazarus Pit. So where do our heroes go from here?

Let’s start with the positives. This issue, and the DKIII main story overall, were really well illustrated. Andy Kubert has been able to meld his style with just enough vintage Frank Miller to make this a unique presentation. Even Miller himself, when working on the mini-comics we got in each issue, was able to settle into a groove. His art has been widely derided in recent years. But while he started off shoddily, it’s been quite awhile since I’ve enjoyed his art this much.

Ray Palmer/The Atom has a really nice moment in this issue where he gets to thwart some of the bad guys. It was clever the way they incorporated Ray into all of this. So to see him “get his win back” in the end was cool.

I also liked what they did with Green Lantern. A little corny? Yes. But he had a great little sub-plot about defeat and redemption. And when you consider one of Green Lantern’s original creators, Martin Nodell, took inspiration from Aladdin and the magic lamp, it makes a kind of sense.

Maybe the reason I’m so into this new take on Green Lantern is because when you close DKIII, it’s one of the few things left that’s really and truly different about this universe. Yes, certain supporting characters are absent. And we’ve got Lara and Carrie in the picture, along with Clark and Diana’s young son. But think about it. We don’t even have that old, gritty, Clint Eastwood-style Batman anymore, now that Bruce has gone through the Lazarus Pit. The Justice League is essentially back together now. What’s left to do in this universe now?

Various points in this story felt like we were gearing up for a passing of the torch. Carrie Kelley becomes Gotham’s protector, while Lara takes over for her Superman. In the end, they pay that off with Carrie becoming Batwoman and teaming with Bruce. Then in our mini-comic, we see Lara is now under the tutelage of her father. This feels like they were didn’t want to remove Batman and Superman, for fear of how it would effect sales going forward. I can understand that. But the ending of this story feels so safe and sub-par anyway, that they may have made that sacrifice regardless.

So why not just go for it? Why not kill the Bruce Wayne character? The Joker had an iconic death scene in The Dark Knight Returns. You can take a crack at doing the same thing with Bruce here. Given how old he is, it’s getting more and more contrived to have him keep coming back in the Batsuit. So have him die in Superman’s arms in issue #6 or #7, prompting Carrie to officially take over for him as Batwoman. There’s an argument to be made for that being the ending DKR should have had.

Then, if you must bring Bruce back via the Lazarus Pit, have it be in DKIV. We can see him challenge Carrie for Gotham City, the effects of the pit having driven him insane.

Many a reader, myself included, has criticized Frank Miller for the bizarre and even offensive choices he made in The Dark Knight Strikes Again and All-Star Batman and Robin. But I’ll always credit Miller with being willing to take risks with his art. In the end, DKIII feels like they went too far in the other direction. The Dark Knight Returns has become a timeless piece of art. DKIII seems mostly like something thrown together by editors so that DC can continue to cash in on the team of Frank Miller and Batman. It’s a missed opportunity. With Brian Azzarello, Andy Kubert, and all these other supremely talented creators on board, they could have made something that allowed DC to sell more books, Instead we got something that feels largely hollow.

***For more DKIII: The Master Race, check out our reviews of issues #1, #2, #3, #4, #5, #6, #7, and #8.***

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A Batman #24 Review – Happiness is…?

TITLE: Batman #24
AUTHOR: Tom King
PENCILLERS: David Finch, Clay Mann
PUBLISHER: DC Comics
PRICE: $2.99
RELEASED: June 7, 2017

***WARNING: Spoilers lay ahead.***

By Rob Siebert
Editor, Fanboy Wonder

Well I’ll be damned. A canonical marriage proposal from Batman to Catwoman. Can’t say I saw that coming. Until I saw all the spoilers the day before, of course. Oh well…

In the aftermath of “I Am Bane,” as well as seeing an alternate version of his father in “The Button,” Batman talks with Gotham Girl about her next move. As such, they dive into the question of why Bruce Wayne has chosen this life as Batman and whether or not it brings him any sort of happiness. This prompts our hero to seek out Catwoman that night and propose. We’re left without an answer from Selina as we close the issue.

The artistic duties for this issue are split between our regular penciller David Finch and guest penciller Clay Mann. The former handles the nighttime chase sequence with Batman and Catwoman and the eventual proposal, while Mann does the talk between Batman and Gotham Girl that lays the emotional groundwork. I’m not sure what necessitated this, but it works out for the better. With due respect, sentimentality isn’t David Finch’s strong suit. He’s more about drawing muscly, curvy people doing things in the dark. Until we get to the proposal itself, that’s really what his work in this issue consists of. I’m not downing him, as the daytime/nighttime contrast works out well.

The Gotham Girl we get in the issue is more playful. Though perhaps she simply seems that way, as she’s been in a perpetual state of terror since issue #6. The sketchier style we see in that scene suits its quieter, more intimate nature. Upon second viewing, I do wish Mann had been able to make her face more expressive. She looks downright wooden in certain panels. Thankfully, what she’s saying is intriguing enough to pull focus away from that.

The issue in its entirety is colored beautifully by Jordie Bellaire, setting the timeframes perfectly. The darkness of Batman’s costume, contrasted with the early morning sunlight is a sight to behold.

When I reviewed the “Rooftops” story from Batman #14 and #15, I said that in many ways this was a story we’d been waiting over 75 years for. These characters had been dancing around romance for decades. Now they were finally admitting they loved each other. They were allowing themselves something they’d always forbidden. And yes, they had sex on a rooftop. But as we’ve seen in many a Batman story, they wound up going their separate ways in the end.

Issue #24 is in essence a continuation of “Rooftops.” Bruce admits that he tries to be happy, but isn’t. And so he finally does something for himself, asking Selina to marry him.

Has Tom King ever talked about Batman: Hush? That was the famous Jeph Loeb/Jim Lee run from the early 2000s where Bruce revealed his identity to Selina, and for a time they were together. What we get in Batman #24 is the outcome you wanted from Hush. But of course, Bruce denied himself happiness at the end. I wonder if King, or someone on the Batman editorial team, took inspiration from Hush for this story, what with it being the classic that it is.

My favorite line in comes when Bruce tells Gotham Girl: “But what you don’t know, Claire, is that I try. I do this to be happy. I try, and I fail.” I’m sure that seems corny to some. But it makes sense to me. We’re all looking for happiness. Even if we try and deny it to ourselves, we typically still look for it subconsciously. Bruce was broken by the senseless act of violence that took his parents away. Batman is his way of sorting the world out and making himself feel better. But by closing himself off to others, like Selina, he sabotages his attempts at happiness. This is his attempt at finally rectifying that.

To his credit, King laid the groundwork for this in the pages of I Am Suicide. Issues #10 and #12 in particular, in which we read their letters to each other. I’m not a fan of some of the things Bruce says about suicide. But I credit King for his attempts to deconstruct this relationship, and really stripping it down to its core.

There is one major missed opportunity here. Just two issues prior, Bruce saw an alternate version of his father, the Flashpoint Batman. He’s told: “Don’t be Batman. Find happiness. Please.” That’s a profound moment, which should cut Bruce to his very core. But in this issue, which ultimately becomes about Bruce trying to find happiness, it’s never mentioned or alluded to. That’s a glaring omission, which I’m hoping is rectified next time.

King also gets cute with Bruce’s engagement ring for Selina. He says he got the ring after their first encounter, as he knew he’d give it to her someday. That’s a stock romance trope. Why not just have Bruce buy her a damn ring? Or give her one that his mother owned? It’s harmless, but still a little disappointing.

There’s also the line: “I’m not Batman because I like being Batman. I’m Batman because I’m Batman.” That’s a meme waiting to happen…

Tom King’s Batman run has been hit or miss for me, especially some of those early issues. But when he’s working on Batman and Catwoman, he’s in his element and tells emotional stories. That bodes well for what’s to come.

On the other hand, what if Selina says no…?

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A Batman/The Flash: “The Button” Review – Take the Good with the Bad

TITLE: “The Button”
AUTHORS: Joshua Williamson, Tom King
PENCILLERS: Jason Fabok, Howard Porter
COLLECTS: Batman #2122The Flash #2122
PUBLISHER: DC Comics
TENTATIVE COLLECTION PRICE: $19.99
COLLECTION RELEASE: October 2017

***WARNING: Spoilers lay ahead.***

By Rob Siebert
Editor, Fanboy Wonder

I want to like what I’m seeing here. And I guess I do, for the most part. I just have to turn a certain part of my brain off. Namely, the part that registers guilt about a company cashing in on imagery and characters from a landmark story without their creator’s blessing.

After months without any leads relating to the mysterious button Batman discovered during the events of DC Universe: Rebirth #1, the Dark Knight gets a surprise visitor: The Reverse-Flash. But what’s his connection to the Button? Where does it come from? How does it connect to the apparent changes made to the timeline? And how does all of this somehow involve the world of Flashpoint?

“The Button” doesn’t give us any answers. But it does wet your appetite for the just-announced Doomsday Clock event in November. It also manages to tug at your heartstrings with some pre-New 52 imagery and characters. So it does what it’s supposed to do. We even catch a little glimpse of Dr. Manhattan at the end…sort of (shown below).

While we’ve known about the DC Universe/Watchmen stuff for about a year now (Has it really been that long?), I still feel dirty when I see the Watchmen imagery. It doesn’t do much good to complain about it, as what’s done is done. But considering what an achievement Watchmen was, and how revered it is to this day, without Alan Moore’s blessing there’s a certain lack of purity here. That’s only going to become more pronounced as we go forward.

Our inciting incident occurs when the button comes into contact with the Psycho-Pirate’s mask, causing the Reverse-Flash to materialize in the Batcave. After a fight, Batman and the Flash attempt to trace the button’s unique radiation to locate it’s source using Flash’s Cosmic Treadmill (Yup, that’s a thing.) After the Crisis on Infinite Earths reboot came and went in the mid-’80s, the Psycho-Pirate was the one character who retained his pre-Crisis memories. I assume Reverse-Flash’s reemergence has something to do with that memory retention. There’s no other explanation…is there?

“The Button” definitely gives us the vibe that this New 52 continuity we’ve been in for the past several years is an injustice perpetrated by Dr. Manhattan. Several years have been from the timeline, forcefully robbing our characters of their memories and in some cases their very existence. We check back in with Johnny Thunder, who at one point cries, “We lost the Justice Society! It’s all my fault!” We also see Saturn Girl of the Legion of Superheroes, who’s screaming about a future only she knows about. As Batman and Flash make their way through the timestream, we see glimpses of events from Crisis on Infinite Earths, Identity Crisis, and other stories that have seemingly been out of bounds for the New 52.

Then there’s the big surprise in the final issue: Jay Garrick’s brief return. Jay comes back much the way Wally West did in Rebirth, but is unable to find a tether to reality the way he did. He’s seemingly jerked back into non-existence via some familiar blue energy.

There’s a surreal and almost meta element to seeing characters like Jay and Wally pine to come back. Jay has a line, “They took everything from me, Barry. I don’t know how. I don’t know why.” Odd as it may sound, it feels like he’s talking about DC itself, doesn’t it? I’ve enjoyed the DC Rebirth initiative as much as anybody. But it does entail the company eating some crow. Yes, we’re happy to see so many familiar elements back in our books. But who took them away to begin with? Would they have gone through with the reboot if they knew they’d be backtracking it just four years later?

Oddly enough, the emotional meat of the story isn’t so much the return of Jay, or the drama of what’s been lost. It comes in when our heroes accidentally find themselves in the Flashpoint universe, and they come across that reality’s Batman, Thomas Wayne. Thus, we get a reunion of sorts between father and son, each Batman in their own world.

We’ve seen stories where Bruce somehow gets to talk to his parents again. Whether they’re ghosts, visions, or what not. But Batman #22 gives us two unique moments that manage to really hit home. The first is when Bruce tells Thomas, “You’re a grandfather. I have a son.” For older fans, that’s a really strong, relatable moment. The second comes as the Flashpoint sequence is ending. In their final moments together, Thomas asks Bruce not to be Batman anymore, and to instead find happiness. That’s a really compelling use of the Flashpoint Batman. I wasn’t expecting it here, but it creates a hell of a potential conflict for down the road. Can Bruce continue his crusade now?

Jason Fabok handles the Batman side of things, and handles them quite well. You can’t deny quality when you see it. His work has a definite epic quality to it, and is very much worthy of what we see here. The Flash issues are pencilled by Howard Porter, who I have a lot of respect for. That being said, his style has never really been my cup of tea. As cool as the time stream sequence in The Flash #21 is, Porter’s work gives it a certain awkwardness. For instance, there’s a panel where we can almost see up Batman’s nose. Not necessarily what we’re supposed to be looking at, is it?

“The Button” is a fine bridge between DC Universe Rebirth #1 and Doomsday Clock. For some of us, there’s going to be a lot of Watchmen-related discomfort on the horizon. But it looks like we’ll be getting our share of feel-good moments too. Take the good with the bad, I guess…

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An All-Star Batman: My Own Worst Enemy Review – Road Trip!

TITLE: All-Star Batman, Vol. 1: My Own Worst Enemy
AUTHOR: Scott Snyder
PENCILLERS: John Romita Jr, Declan Shalvey
COLLECTS: All-Star Batman #15
FORMAT: Hardcover
PUBLISHER: DC Comics
PRICE: $24.99
RELEASED: April 19, 2017

By Rob Siebert
Editor, Fanboy Wonder

Let’s get the usual Scott Snyder spiel out of the way early. I like Snyder’s Batman stuff. He’s one of the best writers to pen the Dark Knight’s adventures in the last decade. But he does so many little things that are just infuriating. As such, otherwise brilliant stories become tainted so needlessly. Sadly, All-Star Batman, Vol. 1: My Own Worst Enemy is no  exception.

The dark side of Harvey Dent, a.k.a. Two-Face, is gradually taking over his twisted psyche. Harvey enlists Batman’s help to take him across the country and eliminate his dual identity once and for all. But Two-Face counters by blackmailing everyone in Gotham City. If Batman isn’t stopped, he’ll release every dirty secret he has. What’s more, the person that brings Batman down gets a fortune in untraceable cash. Batman, and his new apprentice Duke Thomas, are about to be hit from all sides.

Snyder’s premise is tremendous. The great thing about doing this kind of chase story with Batman is the near limitless amount of enemies you can bring in. In My Own Worst Enemy we see Killer Moth, Firefly, Black Spider, and Gentlemen Ghost. And that’s just the first issue. Of course, we also go higher up on the food chain with baddies like Killer Croc and the Court of Owls.

Snyder, John Romita Jr., and the team are clearly having fun with these action sequences. The opening scene with Batman, Firefly, and Killer Moth in the diner has some blaring flaws (more on those later). But the two-page spread on the left packs a hell of a punch.  The book as a whole has some of the most intense and energetic work Romita has done in quite some time. Certainly since he’s come to DC. We later get a sequence on top of a train, which leads to a gorgeous fight in a river between Batman and Two-Face. I also loved the fight with KGBeast in issue #3, which is so bloody it’s actually reminiscent Romita’s work in Kick-Ass.

As such, it makes sense that All-Star Batman and Kick-Ass had the same colorist: Dean White. As the blood continues to spill, the panels start to take on rusty colors, similar to what we see in the climax of the original Kick-Ass. What’s more, White’s touch makes some of the outdoor sequences really pop. That’s especially the case in issue #2, with the greens, browns, and blues. Though if I may say, Killer Croc might be a bit too bright. He’s Killer Croc, not Kermit the Frog.

What Snyder really nails in this book is the twisted psychology of Two-Face. The emphasis on secrets hammers home the point that everyone has a certain duality and dark side to their personality. A side which, if you believe Two-Face represents who they truly are. Snyder even takes us into the mechanics of Harvey and Two-Face. The two personalities can keep secrets from one another, influence each other’s behavior, etc. You get the sense these are aspects of the Two-Face character that Snyder has wanted to explore for awhile, but hasn’t had the chance. Details like this help to make My Own Worst Enemy one of the more compelling Two-Face stories in recent memory.

That’s why it’s all the more frustrating when Snyder sprinkles in moments that seem tremendously out of character for Batman. The most notable ones occur during fight sequences in the first two issues. In the aforementioned diner scene, Batman says: “Hey. All of you in this diner. Look at me. Not them. Look at my face. No one is dying today.” He then winks at them (shown right). On the next page, he makes a crack about the life cycle of a moth before stabbing Killer Moth through the hand.

Later, during he train sequence in issue #2, Batman says to Killer Croc: “Hey Waylon. Appaloosa called…they want their fool back.”

Let’s not kid ourselves. Batman is a silly character. Silly, and versatile enough to be both dark and brooding, yet somehow funny in the same issue. That being said, lines like this are just bad. And they’re so out of character for the Dark Knight that they leave a bad taste in your mouth for the rest of the story. As good as Snyder is, and as fun as these action sequences are otherwise, this is a Batman story, not a Lethal Weapon movie.

As our story continues, we see that even Batman isn’t immune to Two-Face’s little secrets scheme, as Jim Gordon and the GCPD are about to walk into the Batcave. Snyder somewhat blurs the lines as far as what Gordon does or doesn’t know about Bruce Wayne and Batman. In the middle of issue #5, as the cops are about to break into the cave, Gordon pulls Alfred aside. He tells him to “I don’t know what’s true, you hear me? I never have. … Call him and get him to do whatever he has to do to turn this back. You tell him he has one chance.”

This is somewhat reminiscent of what we got toward the end of “No Man’s Land” almost 20 years ago. Only in that story, we had a little hint of doubt that maybe Gordon did know the truth. In this story, it’s the reverse. We’re literally standing in Wayne Manor as everything is about to be revealed, and we get a hint that maybe Gordon doesn’t know. Frankly, that’s not nearly as effective as what happened in “No Man’s Land.” Here, it’s fairly obvious that Gordon knows. And if he doesn’t, then he’s a complete moron.

Snyder did something similar with the Joker back in “Zero Year.” He and Greg Capullo made it pretty clear that the Red Hood One character was the guy that becomes the Joker. But then he threw in a twist that cast doubt over the whole thing. With both the Joker and Jim Gordon, it’s pretty obvious what Snyder wants to do. But for some reason, he doesn’t fully pull the trigger on it.

This first volume of All-Star Batman also collects “The Cursed Wheel,” which is comprised of back-up stories from the first four issues by Snyder, penciller/inker Declan Shalvey, and colorist Jordie Bellaire. The story is fine for the most part. It centers around Batman training Duke Thomas to be…whatever he’s going to be. There’s an argument to be made that Shalvey’s art is actually superior to Romita’s. It’s crisp, it’s clean, and it’s beautifully complimented by Bellaire.

Snyder sprinkles a little Joker dust on things by showing us Duke’s parents, who’ve been driven insane and in effect “Jokerized” after the events of “Endgame.” In issue #4, Duke poses the theory that the Joker is not pure evil. He simply attacks what he loves, and his serum prompts it’s victims to do the same. The idea isn’t explored much, but it’s a tremendous character insight.

On the flip side, you have the concept of the Cursed Wheel. It’s meant to be a condensed version of all the training Bruce did to become Batman. Each portion/color represents a different part of the human psyche. This could have been really interesting. But they got a little too cute with it. What spoiled it for me was this…

“Look at the colors. You see hints of them in the colors of your allies. Dick leans blue. Damian, green. Barbara, purple. It’s a secret history that unites them, connects them and differentiates them.”

So the colors that Nightwing, Batgirl, Robin, and other characters wear isn’t a simple color choice? Rather, it has some kind of deep-rooted psychological attachment to this wheel? So what about when Nightwing was wearing red? Or when Batgirl’s costume wasn’t purple? Hell, what about the other colors Robin wears? Furthermore, what traits to these different colors represent, exactly? Simply put, I don’t get it. The idea isn’t fleshed out enough, and the color coding is a little too silly for me. Sometimes a blue shirt is just a blue shirt.

The one word I would use to describe My Own Worst Enemy is “consistent.” Like Snyder’s work on Batman, we’ve got some really big and creative ideas here. It’s just that the bad ideas tend to flop as spectacularly as the good ones soar.

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A Batman: I Am Suicide Review – Love and Suicide

TITLE: Batman, Vol. 2: I Am Suicide
AUTHOR: Tom King
PENCILLERS: Mikel Janin, Mitch Gerads
COLLECTS: Batman #915
FORMAT: Softcover
PUBLISHER: DC Comics
PRICE: $16.99
RELEASED: April 12, 2017

***WARNING: Spoilers lay ahead!***

By Rob Siebert
Editor, Fanboy Wonder

Tom King is a great writer. Read his work on The Vision and tell me different. I dare you. But is he a great Batman writer? That’s not an easy question. I Am Gotham was a mixed bag, as is a large portion of I Am Suicide. 

Then we get to issues #14 and #15, and King delivers one of the best Batman/Catwoman stories I’ve ever read. But was that a simple flash in the pan? The culmination of a well-crafted story? Something in between?

Claire Clover, a.k.a. Gotham Girl, remains perpetually terrified thanks to the Psycho-Pirate’s ability to control his victims’ emotions. But he’s been taken to the island of Santa Prisca, inside one of the most savage and inescapable prisons on the planet. To infiltrate its walls, Batman and Amanda Waller assemble a makeshift Suicide Squad. Among its members is Catwoman, who stands accused of murdering 237 people. But murder may become a common theme here, as the Psycho-Pirate is under the protection of a man who spent his unthinkable childhood years in that prison, Bane.

At it’s core, this book is about Batman and Catwoman. Bruce and Selina. One of the most intriguing romances in all of popular culture. A fairy tale romance in many ways. But King puts his own spin on it, and looks at it in a way that’s almost psychoanalytic. Letters the two have sent each other serve as the narrative backdrop for issues #10 and #12. We learn that their relationship is largely about the pain they both feel, how it brings them together, and how when they kiss it briefly goes away. I like that. It’s as if it’s an unspoken truth that’s been there the whole time, and we’re just now seeing it. That’s what so many great writers do with these characters.

I’m less a fan of what King does with Bruce’s famous childhood vow to wage war on crime. In issue #12, Bruce reveals that he almost slit his wrists at age 10, before a moment of clarity showed him his true purpose. He then makes the solemn promise that would take him down the road to becoming Batman. Bruce calls his crusade “the choice of a boy. The choice to die. I am Batman. I am suicide.” We read those words as Batman literally fights off an army of gun-wielding prison guards.

I get what King is going for. I understand the unbearable pain of loss leading to a hero’s self-sacrifice. What I’m less enthralled with is the on-the-nose nature of the wrist cutting. The scene doesn’t need that.

Bruce starts that letter talking about the inherent humor in a grown man dressing up like a bat to “punch crime in the face.” It’s very Joker-ish. We even get what may be a vague reference to Mr. J. with the line: “All of them can laugh. Mother. Father. Him. The whole world.” He brings it around to something more serious, of course. But this dialogue speaks nicely to the yin-yang dynamic between Batman and the Joker, whether King mean it that way or not.

King caps the Batman/Catwoman stuff of in an amazing fashion with the “Rooftops” story in issues #14 and #15. I’ve covered those issues in-depth, but it’s worth repeating: “Rooftops” belongs among the greatest Catwoman stories ever told. Mitch Gerads handles the pencils, inks, and colors, bathing the characters in a gorgeous moonlight. What’s more, some of the expressions he gives Selina are just perfect. Throughout the book, King also has the characters call each other “Bat” and “Cat.” That’s a great little touch.

I credit Scott Snyder with doing a lot of justice to the Riddler during his Batman run. He gave the character his balls back. King begins that same process with Bane here, casting him as something of a mad and savage king. A king who, for some odd reason, has to be naked at all times. While things don’t really pick up in this respect until we get to subsequent issues, but this is where we see flashes of early ’90s Knightfall Bane. He’s not just a monster. He’s feared. He’s respected. He’s merciless. He even breaks Batman’s back again and leaves him to drown…

That last one might have been a little more effective if our hero hadn’t simply given himself an extreme chiropractic adjustment and fixed everything. I’ve heard of comic book science, but that right there is comic book medical science. Now if only he’d known that trick in the ’90s.

Also on Batman’s team is Arnold Wesker, a.k.a. the Ventriloquist. They build up his role significantly, and the payoff involves the character being able to subvert the Psycho-Pirate’s powers by virtue of his multiple personality syndrome. Again, comic book medical science. Though I had less issues with that than seeing Wesker make his bare hand talk as if there were an invisible puppet on it (shown below). Comics are so weird.

The majority of the book is drawn and inked by Mikel Janin, and colored by June Chung. I’ve had issues in the past with Janin’s figures looking too static, but we don’t see much of that here. Static or not, Janin’s work is always interesting. His characters look and feel very real, but they have that little touch of superhero dynamism. Case in point, his Batman looks relatively natural and real. But he also gives him a distinct scowl that really walks that line of exaggeration.

Janin and Chung also create a tremendous mood for the prison. It’s suitably dark and dank. You can almost feel that cold, damp air on your skin. Less subtle is the throne of skulls that we see Bane sitting on. We’ve seen this prison before. But it’s never been quite as haunting as it is here.

Despite the greatness of “Rooftops,” I’m not quite ready to call Tom King a great Batman writer just yet. Some of his choices plucked me right out of the story. But he’s becoming a good Batman writer, and that’s better than a lot of people ever get. Perhaps he just needed some time to get comfortable in Gotham City. Either way, this is an improvement. I’ve been excited to pick Batman up again.

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A Batman #15 Review – “She Stole the Night.”

batman-15-coverTITLE: Batman #15
AUTHOR: Tom King
PENCILLER: Mitch Gerads. Cover by Stephanie Hans.
PUBLISHER: DC Comics
PRICE: $3.99
RELEASED: January 18, 2017

***WARNING: Spoilers lay ahead.***

By Rob Siebert
Editor, Fanboy Wonder

In a lot of ways, we’ve been waiting for this story for over 75 years.

In part two of “Rooftops” we finally find out about the 237 people that Selina Kyle allegedly murdered.  But not before shine and Bruce Wayne each make a bold statement to each other. Then Selina runs. Because she’s Catwoman, and Catwoman runs.

“I love you, Bat.”
“I love you, Cat.”

Have Batman and Catwoman ever said that to each other? The canonical Batman and Catwoman? Without it being a dream sequence or anything? I’ve read a lot of Batman comics over the years, and I can’t remember it happening. It’s an amazing moment (shown below). And it’s not just the panels where they say it. It’s the panels between the panels. The silence. Selina’s face. The little smile on Bruce’s face in the last panel. The blue lighting. It’s beautiful, it really is.

batman #15, 2017, I Love You, Mitch GeradsWe put and exclamation point on the whole thing later in the issue. Batman, who fears he may never see Selina again, tells Holly Robinson: “She knows who I am. What I am. And she loves me anyway.”

I mean, c’mon. COME ON.

These are moments you want to see from characters who’ve loved each other in silence for so long. As readers we know they’ll never really be together. But seeing them get those feelings out in the open is tremendously satisfying. Especially for those of us who’ve been reading about these characters our whole lives.

King and Gerads also have a little fun with Catwoman’s history. Bruce and Selina disagree over what their first encounter consisted of. Bruce’s recollection matches up with 1940’s Batman #1, where “the Cat” dresses up like an old lady for a diamond heist. Selina’s is the Batman: Year One encounter, where Bruce tries to save Holly Robinson from an angry pimp. Gerads even mimics the art style from both books. Given the weight what we see in this issue, it’s very fitting.

This is, I believe, the debut of New 52 Holly Robinson. Whereas before she was an ally and protege of Selina’s, and even became Catwoman herself for a time, this Holly Robinson was responsible for the 237 murders that Selina took on herself. When the orphanage they grew up in was burnt to the ground, Holly took revenge using skills Selina had taught her.

I was always confused by the whole 237 murders thing. But I was never of the mindset that Selina actually did it. There are likely some Holly Robinson fans that won’t be happy with this. But at least she’s back, and this is something they can explore with Selina down the line.

batman-15-originsAs with last issue, I give Mitch Gerads so much credit for the blues he uses to give this issue a sense of “mood lighting.” He’s also tremendous at jumping out of that lighting when we go to the origin flashbacks (shown left). The contrast in styles is a lot of fun.

The work Gerads does with Selina’s face on the “I love you” page is obviously stellar. But he also draws a very distinct and expressive Holly Robinson. When we meet her, she’s got a case of bed-head, and her terror at being in the presence of Batman quickly turns to sympathy toward his plight. At least, that’s what we’re supposed to think it is. Batman is cast in the purple glow of the lights outside, while Holly is bathed in those gorgeous blues.

DC has published a bunch of “Greatest Stories Ever Told” trades dedicated to many of their iconic characters. Superman, Batman, Wonder Woman, the Joker, etc. If there’s ever a Catwoman: The Greatest Stories Ever Told book, “Rooftops” belongs in there. One night argue it’s too early to make a prediction like that. But at the very least, it’s the best work Tom King has done in 15 issues of Batman. We’re talking far and away, ahead by a mile, don’t even look back. It’s that superior.

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A Batman #14 Review – They Totally Had Sex!

Batman #14, 2017TITLE: Batman #14
AUTHOR: Tom King
PENCILLER: Mitch Gerads. Cover by Stephanie Hans.
PUBLISHER: DC Comics
PRICE: $2.99
RELEASED:
January 4, 2017

***WARNING: Spoilers lay ahead.***

By Rob Siebert
Editor, Fanboy Wonder

In 2011’s Catwoman #1 and #2, Judd Winick and Guillem March put together a scene where Batman and Catwoman have sex, complete with masks and costumes. We don’t see anything X-rated. But the climactic (no pun intended) page of issue #1 depicts what I think is supposed to be our heroes having achieved penetration. It was generally regarded as distasteful. An assessment I agree with.

In Batman #14, our heroes have sex again (shown below). Once again, I believe we see them achieve penetration. I’m generally not a fan of actually seeing superheroes have sex. Implication is usually fine. But actually showing us the act? No. There’s a trashy, niche porn element to it that I can’t shake. Let alone the fact that these characters also appear on lunch boxes and kids t-shirts.

But if for some reason you must show us Batman and Catwoman doing the nasty, this is how you do it.

batman #14, 2016, sex scene, Mitch GeradsSelina Kyle is about to go to face life in prison without parole for the murder of 237 people. (How/when did this happen, by the way? Is this something Tom King did for this story? I’m lost.) Batman is convinced she’s not guilty. But for whatever reason, Selina isn’t proclaiming her innocence. Now they have one last night together, and they’re spending it where they belong: The Gotham City rooftops.

So why is the sex in this issue different from what we saw in 2011? As much as I enjoy Judd Winick’s work, it was instantly clear that his scene was done for shock value. It was about the sex itself, rather than what the sex meant. Batman #13 is a romantic story that builds to the characters giving into their desires. As Selina puts it, it’s about what they want to do, as opposed to what they have to do.

While I still wouldn’t have actually shown us any of the act, this is actually my favorite Batman issue Tom King has done. I love stories that look at the Batman/Catwoman dynamic, and it’s satisfying to see these characters have a moment like this.

As we’ve frequently seen during King’s run, Batman and Catwoman call each other Bat and Cat. I like that. It adds a layer of familiarity, and almost intimacy to their relationship. It’s so simple that I’m surprised we haven’t seen it more often.

King also brings a bunch of C and D-list Batman villains along for the ride. The Clock King, Film Freak, Condiment King, and Kite Man are just a few of the names our heroes spend this special night with. An especially busy night, it would seem…

batman #14, Mitch Gerads, two-page spreadMitch Gerads handles the pencils, inks, and colors. Almost everything in this issue is bathed in cool blues, which sets the tone beautifully. When we get to the intimacy between Bruce and Selina, Gerads uses those blue tones to highlight some of the scarring on Bruce’s body. That’s an interesting touch.

Early on we get a gorgeous two-page spread of a starry night sky. It’s tremendously fitting, given the importance of this night, and Selina’s talk about it shining like a diamond. Gerads also does some lovely work with Selina’s facial expressions, whether it’s her excitement at being on the rooftops, or her sorrow at having to go away.

Tom King’s Batman run has been a mixed bag. But his intentions have obviously been good, especially when it comes to Batman and Catwoman. Sex notwithstanding, this is the issue where that’s the most plainly seen. As such, it’s his best.

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